Burden or Legacy: From the Chinese Cultural Revolution to by Jiehong Jiang

By Jiehong Jiang

This ebook contains six papers by way of the students and the artists in China and within the united kingdom, discussing modern chinese language paintings with the impact from the chinese language Cultural Revolution.

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63). The artist writes poetically, "when the puppet-like indolence has been punctured by the dancing swords, they communicate within the loving indignation, hurt but never with pain ... ,,77 The performance with dream-like excitement actually reminds us of the assemblies in Tiananmen Square during the Cultural Revolution. When Mao ascended Tiananmen for eight times to inspect his Red Guards in the summer of 1966, the fanatical energy behind conformity was exhaustively expressed. ), Chinese Art at the End of the Millennium.

1 5 Astonishingly, the sculpture was completed in only twenty days and considered as "being unprecedented in the world history of sculpture,,1 6; it is, of course, one of the prominent pieces in the Red Guard art movement. Red Guard Art Publications In 1967, Red Guard organizations exerted their influence on art institutes throughout the country. At the same time, numerous Red Guard art newspapers and pictorials appeared, collaboratively and interactively working with the Red Guard art exhibitions.

An official review of the exhibition reads: 13 Ibid. From Red Guard Art to Contemporary Art These revolutionary artworks were created by the workers, peasants and soldiers, Red Guards and revolutionary artists holding high the great red banner of Mao Zedong Thought and following closely Chairman Mao' s great strategy during the Great Proletarian Cultural Revolution. It was created during the life-and-death battle against China's Khrushchev and his fellow leaders who take the capitalist road. The artworks were not only from Beijing, the centre of the Cultural Revolution, but also Shanghai, Guizhou, Qingdao, Wuhan, and from the corps, villages, mines and schools, all parts of the country.

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